Taonga Puoro Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Taonga Puoro book. This book definitely worth reading, it is an incredibly well-written.
Comprehensively covers the world of Maori musical instruments, a fascinating and little-known area of traditional Maori culture. Illustrated throughout with colour photographs of exquisite contemporary instruments as well as ancient taonga held in museums around the world. It comes with a CD sampler, compiled from recent releases of contemporary Maori music and the natural sounds which inspires it.
One of the largely unseen consequences of the European colonisation of Aotearoa was that the playing of, and knowledge about the traditional musical instruments of the Maori almost completely disappeared. In the 1970s a young Pakeha schoolteacher, Richard Nunns, started asking questions of his Maori friends about these instruments, which sparked a 40-year journey of rediscovery. Over that time Richard has become internationally recognised as the leading figure in the revival of taonga puoro, alongside the late Hirini Melbourne, educator and musician, and Brian Flintoff, master carver and instrument maker. Te Ara Puoro tells the story of Richard's remarkable journey; of how fragments of knowledge given by elders were pieced together through countless presentations and performances on marae the length and breadth of the country; of how the instruments were re-created and developed; and of how he subsequently mastered their playing. The book gathers together an enormous amount of the current knowledge about taonga puroro, and will undoubtedly be the most important written resource in existence on the subject.It also charts the many other paths that Richard has taken with the music, including the huge variety of recordings he has done, his sound-track work, and his playing in other genres, such as free jazz and classical. This is a remarkable and important story. Lavishly illustrated with photographs of the instruments, this book will be essential reading for anyone interested in Maori culture.
Kura Koiwi is both a personal account of Brian Flintoff's career as a carver, but also an important exploration of Maori art and how it relates to carving.
Anyone can learn to plait a kete whakairo from the long blades of harakeke, commonly known as New Zealand flax. This book Kete Whakairo plaiting flax for beginners gives detailed, step by step instructions and illustrations for plaiting a beginner's version of this type of kete. Margaret Rose Ngawaka first became interested in her native craft of plaiting when a group of tutors were invited to teach women in a small northern community on Great Barrier Island, New Zealand in 1998. Margaret Rose has maintained this traditional art and skill. She continues this folk art of Raranga by teaching others who are interested.
"The Māori people, native to New Zealand, have a rich culture steeped in intricate musical traditions. Contemporary composers from New Zealand are increasingly evoking the spirit and essence of traditional Māori music in fusion with Western classical musical conventions in works written for Western trained musicians, The Western flute is one of the most frequently used instruments in these crossover works as the flute is able to emulate many features of the traditional Māori instruments (many of which are considered flutes themselves). Works such as 'Taurangi' for flute and piano by Gillian Whitehead, 'Te Tangi e te Matui' for solo flute by Helen Fisher, and the concerto 'Maui Tikitiki a Taranga' for flute and orchestra by Maria Grenfell, are all pieces which display this fusion of Māori and Western taditions. These pieces are quickly becoming standard modern repertoire for flutists. Due to the lack of academic resources available to Western musicians pertaining to maori music, there is some difficulty in the comprehension and performance of such pieces. Māori musical practices are vastly different from Western musical concepts, forcing composers to communicate Māori ideas in numerous ways which lack standardization. The most common means of emulating traditional Māori instruments, and/or inherently Māori musical concepts and ideas, tends to be the use of extended techniques, the programmatic integration of myth, and the incorporation of text and song. Although the pieces being discussed are influenced or inspired by New Zealand's unique cultural heritage, the application of the techniques used within these wokrs are seen in other contemporary works as well. The fusion of Western Art music and Folk music from all over the owrld is popular amongst composers of the Western classical tadition, and continues to enrich the repertoire available to Western musicians." -- Abstract.
Te Toki me te Whao is the first book by one of New Zealand's most esteemed experts in wood carving - and the first dedicated to Maori tool technology since Elsdon Best's Stone Implements of the Maori (1912). Building on a lifetime of study and experience, Clive Fugill provides a complete historical record as well as a practical guide in the use of Maori tools and technology. The book traces the mythical origins of wood carving and stone implements in the Pacific, location and use of materials in New Zealand, the manufacture of tools, and how to use them in making works in wood, stone and bone. Illustrated with over 80 of Clive's drawings, the book also features colour photos by Chris Hoult.
This edited volume presents 27 original essays by living composers from all around the globe, reflecting on the creation of their music. Coterminous to the recent worldwide resurgence in feminist focus, the distinctive feature of this collection is the “snapshots” of creative processes and conceptualizing on the part of women who write music, writing in the present day, from prominent early-career composers to major figures, from a range of ethnic backgrounds in the contemporary music field. The chapters step into the juncture point at which feminism finds itself: as binary conceptions of gender are being dissolved, with critiques of the attendant gender-based historical generalizations of composers, and with the growing awareness of the rightful place of First Nations' cultural voices, the contributors explore what, actually, is being composed by women, and what they think about their world. The needs that this book serves are acutely felt: despite recent social gains, and sector initiatives and programs encouraging and presenting the work of women who compose music, their works are yet to receive commensurate exposure with that of their male counterparts. In its multi-pronged, direct response to this dire situation, this vibrant volume highlights established as well as emerging women composers on the international stage; reveals myriad issues around feminism, as broadly conceived; and gives insights, from the composers' own voices, on the inner workings of their composition process. The volume thus presents a contemporary moment in time across the generations and within developments in musical composition. With its unique insights, this book is essential for academics and practitioners interested in the illuminations of the current working landscape for creative women.
An excellent tool for students of New Zealand's Maori language, this pocket guide contains more than 4,000 entries in both its English and Maori sections. With a useful pronunciation guide and helpful information on parts of speech, it will be of relevance to linguists, anthropologists, researchers, and academics interested in Pacific Oceanic cultures and history.
It’s important that research with indigenous peoples is ethically and methodologically relevant. This volume looks at challenges involved in this research and offers best practice guidelines to research communities, exploring how adherence to ethical research principles acknowledges and maintains the integrity of indigenous people and knowledge.